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JAHCR'5 Edition 

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TICKETS, PLEASE 



Price, 15 Cents 



B. W. PInero's Plays 

Price, SO Kents Cacb 



TUC A M A 7 AWQ Farce in Three Acts. Seven tnales, five fe- 
ItlL /\luALUli3 males. Costumes, modern; scenery, not 
difficult. ■ Plays a full evening. 

THE CABINET MINISTER ^S. %Z°Yen^lt Sf 

tumes, modern society; scenery, three interiors. Plays a full evening. 

nAWnV niPIT Farce in Three Acts. Seven males, four fe- 
UAViLfl i/lvIV. males. Costumes, modern ; scenery, two inte- 
riors. Plays two hours and a half. 

TUC /^ A V 1 ADFi ATII7Y Coniedv in Four Acts. Fourmales, 
InCi UAI LUi\l/ V£«JEiA ten females. Costumes, modern; 
scenery, two interiors and an exterior. Plays a full evening. 

UIC UAITCr IM ADnrD< Comedy in Four Acts. Nine males, 
nlo nUUiJEi in V3\lfSLs\ four females. Costumes, modern; 
scenery, three interiors. Plays a full evening. 

TUU UADBV UADCP Comedy in Three Acts. Ten males, 
lllL nUDDl ni/l\iJEi five females. Costumes, modern; 
scenery easy. Plays two hours and a half. 

IPIQ Drama in Five Acts. Seven males, seven females. Costumes, 
il\lij modern ; scenery, three interiors. Plays a full eveniug. 

I AnV RAITNTIFITI Play in Four Acts. Eight males, seven 
ItAUl DUUiilirUJL females. Costumes, modern; scen- 
ery, four interiors, not easy. Plays a full evening. 

I FTTV I^rama in Four Acts and an Epilogue. Ten males, five 
LiEil 1 1 females. Costumes, modern; scenery complicated. 
Plays a full evening. 

TUK" MAflQTD ATI? Farce in Three Acts. Twelve males, 
iflJu ITiAUlO 1 Ii/\ 1 £i four females. Costumes, modern; 
aoonery, all interior. Plays two hours and a half. 

Sent prepaid on receipt of price by 

WaUtv ?|. pafeer & Company 

No. 5 Ha^nilton Place, Boston, Massachusetts 



Tickets, Please! 



A Comedy in One Act 



By 

IRVING DALE 



BOSTON 

WALTER H. BAKER & CO. 
1916 



m 



Tickets, Please! • 



^^^Z^x^"^' 



CHARACTERS "^ 

MiGNON "I J^ \ 

Linda J 




Copyright, 191 6, by H. I. Dale 

As author and proprietor 



All rights reserved 



JAN -7 1916 r^'^ 



©CLD 42680 



TMP92-009024 



Tickets, Please! 



SCENE. — Reception-room in a hotel. 

(MiGNON is discovered seated at the rise of the curtain. She 
taps her foot impatiently, looks at her wrist watch, then 
gets up and goes to the window. Enter Charlotte.) 

Char. Oh, hello, Mignon. You here? {They kiss.) I 
thought I'd be the first one. 

MiG. I've been here ten minutes. I nearly broke my neck 
and went without my luncheon so as not to keep the rest of you 
girls waiting. And here I am — alone ! 

Char. Why did you come so early? We weren't supposed 
to be here until half-past one. 

MiG. {looking at her watch). It's almost that now. 

Char. Really? It doesn't seem possible. Heft the house 
before one. I must have made awfully slow time. But then, 
I stopped at the jeweler's to leave my watch. 

MiG. What, again ! 

Char. I dropped it — slipped right out of my hand — and 
broke the crystal. 

MiG. My gracious, but you're careless ! You haven't seen 
anything of the other two girls, have you? 

Chak. No — but I'm sure they'll be along soon. 

MiG. And you have the tickets all right? 

Char. Oh, Mignon, I meant to have told you, I asked 
Maude to get them. 

MiG. Charlotte ! 

Char. I knew Maude was coming in town yesterday. She 
knows some one in the box-office at the Strand. I thought 
perhaps she'd land better seats. 

MiG. Maude is always late ! She won't show up till the 
last minute ! 

Char. But Mignon, even if I had the tickets, we'd have to 
wait for Maude. 

MiG. If she were very late, the rest of us could go to the 

3 



4 TICKETS, PLEASE ! 

theatre and we could leave her ticket at the box-office. She'd 
know enough to call there for it. You mark my word, she 
won't show up till the last minute. 

Char. Oh, yes, she will. You're always hopping on 
Maude ! Poor girl, she tries hard enough to do the right thing. 

MiG. Thank heaven, I didn't pay her for my ticket — and I 
shan't either, if she's very late. I haven't any intention of 
missing part of a play to suit her convenience — especially 
Maude Adams. 

Char. But I did pay her ! I gave her the money for your 
seat and for mine. She was to settle for her own and for 
Linda's. 

MiG. I'm sorry, but you ought to know better, Charlotte. 
Nothing shall separate me from my money till I see that ticket. 

(JShe sits down with deter minatio7i. Char, looks at her in 
disgust, then sits down too, but at quite a distafice.) 

Char, {after a pause). I think you're pretty mean, Mignon. 
I'm not fussing about the money, because I know Maude will 
show up in time — but you're so ready to find fault. Not one 
of us can do anything to suit you, 

MiG. Oh, I'm an awful creature, I am ! 

Char. You make mistakes now and then just the same as 
the rest of us do. 

MiG. Well, I don't make the mistake of letting Maude buy 
and take charge of theatre tickets. {Looks at her watch.) It's 
twenty-five minutes of two now ! 

Char. What of it? We've got loads of time. If Maude 
is late, so is Linda. Why don't you slam her for a change, 
and give Maude a rest ? 

MiG. I'm not slamming anybody. But surely I can speak 
my mind — it's a privilege I have. 

Char. You certainly exercise your privilege, dear. (MiG. 
starts to answer, then shuts her mouth with a snap ; she gets 
up and goes to the window. Char, rubs a powder-rag over 
her nose. After a pause.) Do you see anything of them, 
Mignon ? 

MiG. {snappily). No, I don't ! 

{Pause.) 

Char, {humming from ''A Perfect Day'^). "The soul of 
a friend we've made." (MiG. turns arou7id and glares at her.) 
Oh, excuse me. I forgot that you're fond of music. 



TICKETS, PLEASE ! 5 

{Pause. ) 

MiG. Here comes Maude now. 

Char. What did I tell you ! 

MiG. But Linda isn't here. We've got to wait for her. 

Char. Oh, don't worry. She'll be along in a jiffy. We've 
got plenty of time. 

MiG. But I like to get in and get settled before the over- 
ture. 

Char. Cheer up, perhaps the seats are in the middle of a 
row — you'll have the fun of walking over other people's toes. 
{Enter Maude.) Oh, hello, Maude! 

Maude. Hello, girls ! For once I'm on time. {She kisses 
Char.) Hello, Mignon ! (Mig. offers her cheek}) What's 
the matter ? Why this hauteur ? 

Char. Oh, Mignon's mad ! 

Maude. At me ? 

Char. At both of us. At me because I was the only one 
here to fight with — and at you because you're late. 

Maude. But I'm not late ! 

Mig. {looking at her watch). It's twenty minutes of two. 

Maude {looking at hers). It is not. It's twenty-five min- 
utes past one. 

Mig. {putting her wrist in front of Maude's face). Look 
at that ! 

Maude {same business). Look at that ! 

(Maude and Mig. look as if they were about to wrestle.) 

Char. Ladies, ladies ! I beg of you, no blows ! 

Maude. What time do you say it is, Charlotte ? 

Char. I haven't got my watch. It's at the jeweler's. I 
dropped it — it slipped 

Mig. {wearily). You've told us about it once, dear. 

Maude. She hasn't told me. Go ahead, Charlotte. Did 
you break it ? 

Char. Yes, the crystal. 

Maude. That's too bad. Well, we'll leave it to Linda. 
If it were half-past one she'd be here, because she's always on 
time. 

(Mig. walks to the window again.) 

Char. You have the tickets, haven't you, Maude ? 
Maude. I have my own. Linda has the other three. 



TICKETS, PLEASE ! 



Char. | ^^^^ , 
MiG. \ 



Maude. I was so afraid I'd be late that I kept my own 
and gave the other tickets to Linda. She was with me when I 
bought them. (To MiG.) I thought to save myself a call- 
down from you, dear. 

MiG. Thank heaven, I haven't paid for mine ! 

Maude. But Charlotte has — she paid for yours and her 
own. 

Char. She should worry ! 

Maude. Oh, I can see this is going to be a nice little 
theatre party ! I did what I thought was right — I got here on 
time 

MiG. Humph ! 

Maude {repeatirig firmly). I got here on time — and still 
I'm in wrong. 'Tis a sad life, mates ! 

(MiG. walks to the window. Maude and Char, sit near 
each other.) 

Char. Oh, what a mess ! {Lowers her voice.) Maude, 
why didn't you hang on to those tickets? 

Maude {also lowering her voice). As it turns out we have 
to wait for Linda — what's the difference ? 

Char. Mignon is boiling. 

Maude. Let her boil ! 

MiG. {tur7iing around ) . Don't trouble to lower your voices. 
I can hear every word you say. 

Maude {louder). I repeat — let her boil ! 

MiG. I'm going home. When I go to see Maude Adams 
I'll go alone. 

Char, {heading her off). Oh, don't, Mignon — don't be 
silly. Linda has your ticket, you know. 

MiG. You needn't worry about your money, Charlotte, I'll 
send you a check for it. 

Maude {slappifig her wrist). Now will you be good ? 

Char. Oh, dry up, Maude. 

Mig. {beginning to cry). I think you girls are too hateful 
for anything ! I was so looking forward to the matinee. 

Char, {petting her). We're sorry. We're sorry. 

Maude. You can count me out. I haven't done anything 
to be sorry for. 

(Char, shakes her head at Maude.) 



TICKETS, PLEASE ! 7 

MiG. (sobbing). I have so much to contend with. I try 
to keep my temper— but every one upsets me ! 

Maude. She thinks she's a canoe ! (Char, laughs. MiG. 
looks at her reproachfully, then walks slowly to the door. 
Char, starts after her but is stopped by lAh.\5T>E.) Don't, 
Charlotte ! Let her go. 

(MiG. goes out.) 

Char. She's gone! What shall we do with the extra 

ticket ? 

Maude. Oh, we can sell it at the theatre. That's an easy 
one. (U\G. comes back.) What's the matter ? Did you for- 
get something ? , ^ , t 

MiG. (swallowing a sob). Don't be so catty, Maude. I came 
back because nobody stopped me. I do want to go to the 
theatre. I can't help it if I'm easily m^— (^firmly) upset— and 
I don't mean that in a nautical way, either. 

{She grins sheepishly.) 

Maude {choosing to consider this an apology she puts her 
arm around MiG.'s waist). I'm glad you came back, Mig- 
non I did honestly try to do what was best for the rest of the 
crowd— I mean about the tickets. Where can Lmda be? 
Something must have happened to her ! She's never late. 
{Cheerfully.) Perhaps she's been run over by an automobile, 
or something— she's so near-sighted ! 

MiG. {looking at her watch). It's 

Char. ) /^^^^^^ ^^gr their ears). Spare us ! 

Maude y ,..,■, i. • »..u 

MiG I was only going to say that it ts odd she isn t here. 
Do you really think anything could have happened to her? 

Char Ssh ' I hear some one coming down the corridor. 
(All the girls rush to the door. Enter Linda. They drag 
her to c.) Where in heaven's name have you been ? 

MiG. What kept you ? 

Maude. We had you dead and buried ! „ , ^ 

Linda. I can't talk if you are all going to talk ! It war 
just by the merest chance that I stopped here. I thought you d 
be at the theatre by this time. 

Char. ") 

Maude. V What ! 

MiG. 3 



8 TICKETS, PLEASE ! 

Linda. At the theatre. Why, what's the matter ? Haven't 
you got the tickets, Mignon ? 

MiG. Tickets? No, I haven't. I wasn't to get the tickets. 

Linda. I know that, but I left them at your house this 
morning. 

MiG. My house ! 

Linda. My manicurist called me up this morning — I was 
to go to-morrow, but she asked me to change to to-day. I was 
afraid I'd be late, so I went around to your house and left the 
tickets for you and Charlotte. Maude has hers. 

MiG. You left the tickets at my house ? 

Linda. With the maid. I was in a hurry and didn't stop. 
Didn't she give them to you? 

MiG. No, I haven't seen Norah since breakfast. What 
time were you there ? 

Linda. Oh, about eleven. 

Char. Well, this is a nice mess ! What are we going to 
do now ? 

Maude. Linda and I can go. We have our tickets. 

Linda. Telephone to your house, Mignon, and get some 
one to come in with them. 

Char. Oh, yes, do, Mignon — there's a telephone over 
there. 

MiG. {going to telephone). It's a pay one. Anybody got a 
nickel ? 

Linda. I haven't, I know. 

Char, {looking in her purse). Here are some coppers. 

Maude. I've spent my last cent. I was hoping Linda 
would offer to pay my fare home. Haven't you got one your- 
self, Mignon ? 

MiG. {opening her purse reluctantly). Yes, I have — but it's 
a buffalo, and I'm saving buffalo nickels. 

Maude. Tight wad ! 

MiG. {calling). Chestnut 67 M. {To the others.) It 
would be just my luck to have every one out. We'll get to the 
theatre in time for the final curtain! {Short pause.) Oh, dear 
— why don't they hurry ! Oh, here they are. {She drops 
money in the slot.) Hello — hello! Is that you, Norah ? This 
is Miss Arden — Mignon. Er — Norah, have you got a couple 
of tickets there for me? Tickets — theatre tickets! What? 
{To the others.) She says she hasn't got them ! 

Linda. Well, I most certainly left them. They were in an 
envelope. 



TICKETS, PLEASE ! Q 

MiG. Oh, why didn't you say so? (/« the telephone.') 
They are in an envelope, Norah. What ? You did ! Wait a 
mi n ute. {She feels in her pocket and hauls out several letters. ) 
It's all right, Norah. (^Hangs up the receiver.) Oh, girls, 
what do you think — here they are ! 

(She holds up one of the envelopes.) 

Char. You've had them all the time ! 

MiG. I left the house in a hurry, and grabbed up what let- 
ters there were in the hall— intending to read them on the car. 
1 rode in with Carrie Pierce — we were talking — and — and 1 
forgot all about them ! 

Maude. Well, if that isn't enough to make a perfect lady 
swear ! 

Linda. Oh, come on, hurry up. Let's see part of the 
show, anyway. 

Char. Hold on a minute ! What time is it, Linda ? 

(MiG. a7id Maude both look at their watches.) 

Linda. I say ten minutes of two. 
Maude. That's what I say ! 
MiG. {weakly). 1 must be a little fast. 
Maude. You are, dear — but of course in a perfectly nice 
way. 

(They troop out.) 



CURTAIN 



THE SUFFRAGETTES' CONVENTION 

An Entertainment in One Scene 

By Jessie A. Kelley 
One male, twelve females. Costumes, modern and eccentric ; scenery, 
unimportant. Plays an hour and a quarter. Another of Mrs. Kelley's 
popular as.-,en\blages of the floating humor of the Suffragette question. 
Just a string of humorous lines and characters and local hits aimed to raise 
a hearty laugh without hurting anybody's feelings. Suited for women's 
clubs and for general use in private theatricals. 
Price, 2 J cents 

CHARACTERS 

Mrs. John Yates, presiding officer. 

Mrs. Silas Curtis, suffragette speaker, 

Mrs. EbeiN Altman, suffragette speaker, 

Mrs. EldoiN Keener, anti- suffragette. 

Mrs. Oscar Dayton, anti- suffragette. 

Mrs. Jonas Harding, anti- suffragette. 

Miss Rosab^lle Hyacinth, engaged. 

Miss Priscilla Prudence, would like to be engaged. 

Miss Anna Helder, great on style. 

Mrs. Charles Bates, anti- suffragette, 

Mrs. Russell Sager, suffragette. 

Mrs. Francis Wood, suffragette. 

Silas Curtis, who becomes an ardent advocate of woman suffrage 

IHE QUEEN OF HEARTS 

A High School Comedy in One Act 
By Gladys Ruth Bridgham 
Three males, three females. Costumes, modern ; scenery, a single in 
terior. Plays one hour. Three seminary girls go to the masquerade on 
the sly, get mixed up there with some students and have a narrow escape 
from detection. Their later anxieties are complicated by the fact that thejl 
discover that one of the younger members of their own faculty was also 
there ; but this later suggests a plan by which they escape. Very brighl 
and breezy and full of fun and action. 

Price, 15 cents 

LOOK OUT FOR PAINT 

A Farce Comedy in Three Acts 

By Cornelius Shea 

Five males, four females. Costumes, modern ; scenery, one interior and 

one exterior. Plays an hour and a half An elderly maiden, making a 

" flash " at a summer boarding-house, runs into a young artist with whom 

slie lias corresponded through a matrimonial bureau. He is an admirer of 

the landlady's daughter and tells her the facts before the lady has seen 

him. She induces Roamer, a tramp house-painter, to exchange identities 

with his fellow artist with side-splitting results. A capital piece, full oi 

humor and very easy. Recommended for schools. 

Price, 25 cents 



HUSBANDS ON APPROVAL 

A Comedy in Three Acts 

By W. M. Blatt 
Six males, four females. Costumes, modern ; scenery, two interiors. 
Plays a full evening. Nancy has a theory that a girl ought to know more 
about a man than is usual before she becomes engaged to him, so she in- 
vites four of her admirers to spend a month as guests in her family. One 
becomes engaged to her sister, another to the housemaid, and the third to 
her mother, but she manages to save the fourth. Refined Irish comedy 
part. Strongly recommended. Royalty for amateur performance, ^lo.cx) 
for one, $15.00 for two performances. 

Price, JO cents 

CHARACTERS 

Nancy Gloy'EK, Juvenile lead. 

Rita Glover, her sister ; ingenue. 

Mrs. Glover, her mother ; about forty. 

Catherine, a handsome Irish girl of twenty ; maid. 

Hamilton Seaver, an aristocratic, self satisfied and good-looking 

man of twenty -one. 
Robert Devon, a good-looking, agreeable man of twenty-three. 
Col. Maynard Rowe, a soldierly man of indefinite age. 
Richard Fitzgerald, a handsome, rollicking, careless Irishman, 

about twenty-five. 
Samuel Rutherford Glover, a boy of nineteen ; college type. 
Kratz, a German mechanic, in working clothes and with straggling 

chin beard. 

A CASE FOR SHERLOCK HOLMES 

A Comedy in Two Acts 
By Gladys Ruth Bridgham 
Ten female characters. Costumes modern; scene, an easy interior. 
Plays one and a half hours. Eugenia Michalford plans to have her 
bridesmaids' supper at her aunt's, who is the keeper of a lighthouse away 
off on a remote island. The merry party run into exciting times pro- 
vided by Jerry Hautch, a fugitive from justice, who is thought to have 
taken refuge on the island. Helen Pinckley, a born detective, under- 
takes his capture and detects almost everything except the criminal. 
Bright, breezy and amusing; recommended for schools. 
Price, 2 J cents 

CHARACTERS 

Eugenia Michalford, the bride. 

WiLiFRED Sherman, the maid of honor. 

Olive Lovering 

Helen Pinckley 

Julia Marden 

Ruth Winship 

Estelle Freeman 

Margaret Mallory^ 

Cyrene Whitcomb, Eugenia's aunt. 

Lavinia, sixteen years old. 



' bridesmaids. 



THE VOICE OF AUTHORITY 

A Farce in Three Acts 
For Female Characters Only 
By Bertha Currier Porter 
Seven females. Costumes, modern; scenery, a plain interior. Plays 
iwo hours. Seven girls go camping all by themselves so as to have no 
men bothering around. After a week of it they decide to send for their 
brothers and fiances, but they have no sooner done so than they are noti- 
fied that their camp has been quarantined by the authorities because one of 
them the day before has been seen holding a baby that has the scailet 
fever. The men arrive, but are not allowed to enter, and the girls can- 
not come out. Trouble follows, ended by the discovery that the baby did 
not have scarlet fever after all. Full of life and laughs ; strongly recom- 
mended. 

Price, 2^ cents 

CHARACTERS 
Jean Campbell, the stenographer, engaged to Bert. 
Priscilla Carter, the newspaper woman, engaged to Ralph, 
Martha Stearns, the cooking teacher, engaged to Max. 
Gladys Cushing, the butterfly, engaged to Charlie. 
Margery Whiting, the bride-to-be, engaged to Billy. 
Elizabeth Kennedy, independent, not engaged at all. 
Dr. E. T. Simpson, the physician. 
And 
The Voice of Authority, unseen but all-powetful. 

THE COMING OF ANNABEL 

A Comedy in One Act 
By Alice C. Thompson 
Six females. Costumes, modern ; scene, an interior. Plays thirty 
minutes. A group of village gossips, bent on the slaughter of the char- 
acter of a visitor to the town, are routed and reformed by the example of 
Annabel's charity and amiability. Good character. Clever and effective* 
Price, /J cetits 

THE MISSES PRINGLES^ LEAP YEAR 

A Comedy in Two Acts 
By Amaryllis V. Lord 
Ten females and the apparition of a man. Costumes, modern ; scenery, 
unimportant. Plays half an hour. The Misses Barbara, Priscilla and 
Iktsy Pringle, while scorning matrimony in public, have a secret inclina- 
tion toward it, and taking advantage of leap year, each, without the 
knowledge of the others, pro])Oses by letter to Deacon Smith with sur- 
prising results. Very easy and amusing, requiring no scenery and but 
little rehear-ing. 

Price, 15 centi 



THE ELOPEMENT OF ELLEN 

A Farce Comedy in Three Acts by Marie J. Warren. Four maleSj 
three females. Costumes, modern ; scenery, one interior and one exte- 
rior. Plays an hour and a half. A bright and ingenious little play, ad- 
mirably suited for amateur acting. Written for and originally produced 
by Wellesley College girls. Strongly recommended. 
Price, 2 J cents 

A VIRGINIA HEROINE 

A Comedy in Three Acts by Susie G. McGlone. Eleven female char- 
acters. Scenery, easy; costumes, modern. Plays one hour and forty-five 
minutes. Irish and Negro comedy parts, and tvi^o character parts ; most 
of th^ characters young. A very easy and interesting play for girls, well 
suited for school performance. Romantic interest w^ith lots of comedy. 
Price, 2^ cents 



OUR CHURCH FAIR 

A Farcical Entertainment in Two Acts by Jessie A. Kelley. Twelve 
females. Costumes, modern ; scenery, unimportant. Plays an hour and 
a quarter. A humorous picture of the planning of the annual church fair 
Dy the ladies of the sewing circle. Full of local hits and general human 
nature, and a sure laugh-producer in any community. Can be recom* 
mended. Price, 2j cents 

ALL CHARLEY'S FAULT 

A Farce in Two Acts by Anthony E. Wills. Six males, three females. 
Scenery, an easy interior ; costumes, modern. Plays two hours. A very 
lively and laughable piece, full of action and admirably adapted for ama- 
teur performance. Dutch and Negro comedy characters. Plays very 
rapidly with lots of incident and not a dull moment. Strongly recom 
mended. Price, /j: cents 

HOW THE STORY GREW 

An Entertamment for Women's Clubs in One Act by O. W. Gleason, 
Eight female characters. Costumes, modern ; scenery, unimportant ; maj 
be given on a platform without any. Plays forty-five minutes. A very 
easy and amusing little piece, full of human nature and hitting off a well- 
known peculiarity of almost any community. Written for middle-aged 
women, and a sure hit with the audience. Price, /J cents 

THE COUNTRY DOCTOR 

A Comedy Drama in Four Acts by Arthur Lewis Tubbs. Six males, five 
iemales. Costumes, modern ; scenery, two interiors. Plays two hours. 
Easy to stage and full of interest. The female parts are the stronger, being 
exceptionally good, Negro and " hayseed " comedy parts, A very strong 
dramatic piece. Can be recommended. Prtcet 2j cents 



LOST— A CHAPERON 

A Comedy in Three Acts by Courtney Bruerton and W. S. Maulsby. 
Six male, nine female characters. Costumes, modern; scenery, an in- 
terior and an exterior. Plays a full evening. A lot of college girls m 
camp lose their chaperon for twenty- four hours, and are provided by a 
camp of college boys across the lake with plenty of excitement. The parts 
are all good, the situations are very funny and the lines full of laughs. 
Recommended for high-school performance. price, 2^ cents 

THE PRIVATE TUTOR 

A Farce in Three Acts by E. J. Whisler. Five male, three female char- 
acters. Costumes, modern ; scenery, two simple interiors. Plays two hours. 
Tells of the endeavors of two college boys to disguise the fact that they have 
been " rusticated" from the family of one of them. Hans Dinklederfer, 
the leader of a German band, trying to make good in the character of a 
private tutor, is a scream. All the parts are good. A capital high-school 
play. Price, 2^ cents 

THE REBELLION OF MRS. BARCLAY 

A Comedy of Domestic Life in Two Acts by May E. Countryman. 
Three male, six female characters. Costumes, modern; scenery, easy 
interiors. Plays one hour and three-quarters. A clever and amusing 
comedy with all the parts evenly good. There are many Mr. Barclays all 
over this country, and Mrs. Barclay's method of curing her particular one 
will be sympathetically received. Good Irish comedy parts, male and fe- 
male. Strongly recommended. Price, 2^ cents 

THE TRAMPS' CONVENTION 

An Entertainment in One Scene for Male Characters Only by Jessie A. 
Kelley. Seventeen male characters. Costumes, typical tramp dress ; 
scenery, unimportant. Plays an hour and a half. An entertainment in 
the vaudeville class, with possibilities of unlimited fun. Music can be in- 
troduced, if desired, though this is not necessary. The opening is very 
funny and original and the finish — The Ananias Club — can be worked up 
to any extent. Strongly recommended. Price, 2^ cents 

THE DAY THAT LINCOLN DIED 

A Play in One Act by Prescott Warren and Will Hutchins. Five male, 
two female characters. Costumes, modern ; scene, an easy exterior. Plays 
thirty minutes, A very effective play suited for a Lincoln Day entertain- 
ment. It offers plenty of comedy, and is a piece that we can heartily 
recommend. Professional stage-rights reserved. Price, 2^ cents 

PA'S NEW HOUSEKEEPER 

A Farce in One Act by Charles S. Bird. Three male, two female char- 
acters. Modern costumes ; scenery, a simple interior or none at all. Plays 
forty minutes. Jack Brown, visiting his chum, is tempted by his success 
in college theatricals to make up in the character of the new housekeeper, 
an attractive widow, who is expected but does not arrive. He takes in 
everybody and mixes things up generally. All the parts are first rate and 
the piece full of laughs. Strongly recommended. Price, i^ cents 



WILLOWDALE 

A Play in Three Acts by Arthur Lewis Tubbs. Seven males, five fe- 
males. Scenery, two easy interiors ; costumes, modern. This is a play oi 
exceptional interest and power. Admirably suited lor amateur perform- 
ance, all the parts being good. Godfrey is an admirable heavy part, Joel, 
Lem and Simon capital character parts, Mis' Hazey a novel eccentric bit, 
and Oleander a part of screaming comedy. Plays two hours and a quarter. 
Pi'iccy 2^ cents 

THE VILLAGE SCHOOL MA'AM 

A Play in Three Acts by Arthur Lewis Tubbs. Six males, five females 
(.'ostumes, modern ; scenes, an interior and an exterior, or can be played in 
two interiors. Plays two hours or more. Combines a strong sympathetic 
interest with an abundance of comedy. The parts are unusually equal in 
opportunity, are vigorously drawn and easily actable. No dialect parts, 
but plenty of variety in the comedy roles and lots of amusing incident. 
Can be strongly recommended. Price, 2j cents 

BAR HAVEN 

A Comedy in Three Acts by Gordan V. May Six males, five females. 
Costumes, modern ; scenery, two interiors and an exterior, not difficult. 
Plays two hours. An excellent piece, mingling a strongly serious interest 
with abundant humor. Offers a great variety of good parts of nearly 
equal opportunity. Admirably suited for amateur performance, and 
strongly recommended. Price, 2^ cents 

DOWN IN MAINE 

A Drama in Four Acts by Charles Townsend. Eight male, four female 
characters. This play has no villains, no tangled plot nor sentimental 
love scenes; yet the climaxes are strong, the action iDrisk, and the humor 
genial, and the characters strongly drawn. Can be played in any hall ; 
scenery, of the easiest sort. Properties, few and simple ; costumes, 
modern. Plays a full evening. Strongly recommended. Price, 2j cents 

HIGBEE OF HARVARD 

A Comedy Drama in Three Acts by Charles Townsend. Five males, 
four females. Modern costumes ; scenes, two interiors and an exterior — 
the latter may be played as well in an interior, if preferred. Plays a full 
evening. A clever, up-to-date piece, well suited for amateur performance. 
No small parts; all good. Good plot, full of incident, no love-making, 
interest strong and sustained. Price, /j cents 

HOW JIM MADE GOOD 

A Comedy Drama in Four Acts by Cliarles S. Bird. Seven males, 
three females ; two male parts can be doubled. Costumes, modern ; 
scenery, three interiors. Plays two hours. An unusually sympathetic 
play, virell suited to amateurs. Clean and easy to get up. Recommended 
to high schools. All the parts are good. Price, 2^ cents 



B. W. Pinero's Plays 

Price, SO ee it^ Cacb 

Min PHANNFI Play in Four Acts. Six males, five females. 
"**'-'"V'**'*Alll£iLi Costumes, modern; scenery, three interiors. 
Plays two and a half hours. 

THE NOTORIOUS MRS. EBBSMITH Sr^'E.gTt 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

THF PRflFIIPATF Playln Four Acts. Seven males, five 
lOEi ri\WrLi£VJ/ll£< females. Scenery, three interiors, rather 
elaborate ; costumes, modern. Plays a full evening. 

THE" Qr'Wnni MIQTDFQQ Farce in Three Acts. Xinemales, 
lllEi JvnUULilTll01i\£:<i3i3 seven females. Costumes, mod- 
ern; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY igf :JSel^S?e 

females. Costumes, modern; scenery, three interiors. Plays a 
full evening. 

QWFPT T A VFWnFR Comedyin Three Acts. Seven males, 
O Tf EiEi I Lin. T £ii^ LrLilV four females. Scene, a single interior, 
costumes, modern. Plays a full evening. 

TUr TUITWnrDKinif T comedy in Four Acts. Ten males, 
iniL inUilUJLllDULiI nine females. Scenery, three interi- 
ors; costumes, modern. Plays a full evening. 

THF TIMF^ Comedy in Four Acts. Six males, seven females. 
1 llEi 1 lif i£!iiJ Scene, a single interior ; costumes, modern. Plays 
a full evening. 

THF WFAltFR ^FY Comedy in Three Acts. Eight males, 
in£< W JdriiVEiiX ij£iA eight females. Costumes, modern; 
scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE ^^^e^^Uf'^rfeJST.: 

Costumes, modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 

Walttv ^. Pafeer & Companp 

No, 5 Hamilton Place, Boston, Massachusetts 



1,™;!^"^ O"" CONGRESS 



016 102 910 5 # 



C|)e l^iUtam l^arren Clittton 
cfpapfii 



A^ Yftll I IITF IT Comedy in Five Acts. Thirteen males, four 
A3 IvU L(lIiC II females. Costumes, picturesque ; scenery, va- 
ried. Plays a full evening. 

r A MIT IF I^rama in Five Acts. Nine males, five females. Cos- 
vAl'llLLC tumes, modern ; scenery, varied. Plays a full evening. 

INiiOMAI? P^^y ^^ yiye Acts. Thirteen males, three females. 
lltuUlTlAlX Scenery varied ; costumes, Greek. Plays a full evening. 

MVDY STUART Tragedy in Five Acts. Thirteen males, four fe- 
iTlAI\l JlLIAHi males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

TBE MERCHANT OF VENICE Sret^b^e^^mlS: SoX^^t 

picturesque ; scenery varied. Plays a full evening. 

PirHFI IFII Play in Five Acts. Fifteen males, two females. Scen- 
AIvllCMLU ery elaborate ; costumes of the period. Plays a full 
evening. 

THF PIVAI^ Comedy in Five Acts. Nine males, five females, 
llllw HI T /iL<a3 Sf»finfirv vflrifid : nnstiiiTiPR nf the neriod. Plavs a 



full evening. 



Scenery varied ; costumes of the period. Plays a 



SHE STOOPS TO CONQUER SStU? Siet^'lce/e^^v^l 

ried ; costumes of the period. Plays a full evening. 



Comedy in Five 
Acts. Ten males, 



TWELFTH NWHT; OR, WHAT YOU WILL 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. # 



Sent prepaid on receipt of price by 

3^alter ^, 'Bafter & Company 

Wo. 5 Hamilton Place, Boston, Massachusetts 

•. J. PARKHILL a CO.. PRINTWtS. BOSTOM. U.S.A. 



